New York City based director/choreographer Christopher George Patterson is at the helm of Western Michigan University's staging of "Kiss Me, Kate."Courtesy photo

KALAMAZOO, MI -- In “Kiss Me Kate,” which opened Thursday night, director Christopher George Patterson successfully accomplishes what he set out to do: Put on a charming classic musical that pays homage to the silver screen musicals of the 1940s and 1950s.

It’s exactly the kind of gorgeous, funny, sweeping musical that leaves its audience members literally dancing out the door, humming one of the many witty and memorable Cole Porter songs.

In fact its only downfalls are no fault of this particular production. In the third scene, the script relies on a phone call and memory-based dialogue to set up the action, both cheap devices. And after hearing more powerful pop reimaginings of the gorgeous “So in Love,” the original arrangement doesn’t resonate quite as deeply despite the singers’ talent.

But these are petty and easily forgotten annoyances in what is otherwise a delightful and extraordinary show, which continues through April 20 in the Shaw Theatre of Western Michigan University's Gilmore Theatre Complex. Well cast, full of inspired performances, and with technical choices that evoke the period and concept beautifully, “Kiss Me Kate” is a triumph.

This clever show focuses on the members of a theatre troupe in 1948 Baltimore putting on a musical rendition of “The Taming of the Shrew,” particularly the warring, once-married, leading actors.

But there are no small parts or small actors here; everyone in this exceptionally talented ensemble plays their part, and everyone shines in the nice mix of grand corps numbers, such as the jazzy goosebumps-inducing “Too Darn Hot,” and intimate duets like “Wunderbar.”

From the powerfully dynamic and physical leads with great chemistry Ellen Jenders as Lilli and Patrick Connaghan as Fred, to the flirty big-voiced Lexie Plath as Lois Lane, to wonderful character actor Anica Garcia-DeGraff as Hattie, to the sizzling huge presence of Este Fan Kizer as Paul, to the uproarious screwball team of Joseph Sammour and Nick Graffagna, this cast is stellar.

Their singing is lovely with marvelous live orchestra accompaniment; they make Patterson’s challenging high-energy choreography (from pointe to tap and everything in between) look effortless; and their characters — even when they’re characters playing other characters — are utterly convincing.